The bible of the music industry! Now in its tenth edition, This Business of Music has been revised and completely updated to reflect the latest changes in the ever-evolving music business. Every chapter has been revised. An entirely new chapter has been added, asking and answering the question “Are there borders in cyberspace?” The answer is yes, and the book clearly and concisely explains what they are and how to maintain them. Commentary on recent legislation, a reader-friendly summary of the laws on copyright duration, and much more insightful analysis—plus fully updated lists of music organizations and important websites—make This Business of Music indispensable for musicians, agents, managers, marketers, music publishers and groups, colleges and universities, and everyone who wants to make music and make money.
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About the Author
M. William Krasilovsky is an attorney specializing in music and copyright. He has been a trustee of the Copyright Society of America and has served as music counsel to Warner Music and special music counsel to the United Nations and UNICEF. As an adjunct professor at New York University and the State University of New York, Mr. Krasilovsky taught courses on the music business and on ethical issue important to the entertainment industry. He contributes frequently to entertainment and law journals and has lectured at universities and bar associations across the country. He lives in Stamford, CT.
Sidney Shemel died in 1994, and his work on the first six editions of this book is still very much in evidence throughout the current text. Mr. Shemel was Vice President of Music at MGM-UA and vice president and legal counsel to the United Artists Corporation’s record companies and its domestic and international music publishing subsidiaries.
John M. Gross, a graduate of Harvard Law School, practices entertainment and music law. Mr. Gross served as Vice President and General Counsel of the Entertainment Division of Commonwealth United Corp. and later became a partner in the law firm of Arrow, Edelstein & Gross, P.C. He lives and works in New York City.
Jonathan Feinstein, a New York and California attorney specializing in intellectual property strategy related to entertainment and technology ventures, was educated at Wesleyan University and Northwestern University Law School. He holds several patents and has developed commercially successful products. As an entrepreneur and executive in Silicon Valley and Seattle, he has worked with Apple Computer and Sophisticated Circuits, Inc., among others. He serves as an advisor and expert witness on media technology.
Sidney Shemel died in 1994, and his work on the first six editions of this book is still very much in evidence throughout the current text. Mr. Shemel was Vice President of Music at MGM-UA and vice president and legal counsel to the United Artists Corporation’s record companies and its domestic and international music publishing subsidiaries.
John M. Gross, a graduate of Harvard Law School, practices entertainment and music law. Mr. Gross served as Vice President and General Counsel of the Entertainment Division of Commonwealth United Corp. and later became a partner in the law firm of Arrow, Edelstein & Gross, P.C. He lives and works in New York City.
Jonathan Feinstein, a New York and California attorney specializing in intellectual property strategy related to entertainment and technology ventures, was educated at Wesleyan University and Northwestern University Law School. He holds several patents and has developed commercially successful products. As an entrepreneur and executive in Silicon Valley and Seattle, he has worked with Apple Computer and Sophisticated Circuits, Inc., among others. He serves as an advisor and expert witness on media technology.
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Most Helpful Customer Reviews
12 of 12 people found the following review helpful:
5.0 out of 5 stars
Still one of the best ever books about the Music Business,
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This review is from: This Business of Music, 10th Edition (This Business of Music: Definitive Guide to the Music Industry) (Hardcover)
An absolute must-have. When I was a teenager in a band, This Business of Music was one of the first how-to books I ever bought. Many updates later, it's still the music industry Bible.
If you're a complete novice to the industry or you're not used to reading contract language, the technical terms and legalese can be confusing and slow-going at first. But stay with it; it will get easier as your understanding of the music business grows. Some other reviewers complained about this, but understanding some music industry legalese is vital if you want to be able to cover your *ss in the music industry before you can afford a good attorney. (Later, when you can afford a good attorney, you'll save a ton of money by having a basic understanding what your attorney is talking about. Savvy, successful musicians know what's in their contracts.) Be patient, and you can get through it; no one ever has to know how many times you have to re-read something before it makes sense. When I bought my This Business of Music as a kid, I didn't think I'd ever get through it! But I did, and a music business career later, I'm a music business consultant.
3 of 3 people found the following review helpful:
5.0 out of 5 stars
A standard reference work for music professionals,
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This review is from: This Business of Music, 10th Edition (This Business of Music: Definitive Guide to the Music Industry) (Hardcover)
I have owned several editions of this book through the years. I am impressed with this tenth edition of a standard reference work that I point my students toward (I am a composer and a professor of music involved with production and recording).
Ever wonder about the potential legal issues involved in publishing a compilation? Or covering a famous song? The finer points of movie soundtrack copyright? Or perhaps you are confused about terms often used but poorly understood by most musicians, such as mechanical rights or what constitutes a work for hire. As far as updates, I am pleased to see a discussion of digital downloads, the legal issues and battles involved, and their share of the music business pie. There are lists of labels distributed by the four majors-- I didn't know that Caroline and Astralwerks are both owned by EMI, for example-- as well as the inclusion of contemporary phenomena such as the South by Southwest Festival, ascendant in recent years. But the most important aspect of this book to me is the authoritative voice of a seasoned New York City entertainment lawyer who has been around for a long time and manages to stay abreast of new trends and practices. In short: highly recommended.
5 of 6 people found the following review helpful:
4.0 out of 5 stars
The bible,
By
This review is from: This Business of Music, 10th Edition (This Business of Music: Definitive Guide to the Music Industry) (Hardcover)
This is the industry standard for substantive knowledge of the music business. Deal points, standard contract provisions, the often technical and confusing jargon, and the historical context for many industry practices are all covered here in comprehensive yet concise fashion. The book comes with a CD-ROM containing sample agreements, forms from the United States Copyright Office, and forms from the three performing rights societies. A must for those seeking to understand day-to-day business and legal operations in the music industry. The material can be a little daunting, and at first might seem impenetrable. Multiple reads of a particular chapter or paragraph are often necessary to fully grasp the relevant subject matter. But that's a testament to the complexity of the various segments of the music industry, not the skill of the authors, who are experienced music law practitioners.
[...]
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Inside This Book
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First Sentence:
The music business is dynamic and ever-changing. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
copyright royalty judges, union reuse fees, mechanical license fees, subsidizing party, local subpublisher, territorial partner, current performance plan, public performance fees, performance monies, statutory heirs, catalogue deal, recording fund, foreign subpublishers, synchronization fees, suggested retail list price, statutory beneficiaries, songwriter agreements, copyright office records, mechanical royalty rate, music publishing rights, compulsory licensee, mechanical royalties, neighboring rights, contracts with minors, artist agreement Key Phrases - Capitalized Phrases (CAPs): (learn more)
United States, New York, Harry Fox Agency, Berne Convention, United Kingdom, Supreme Court, European Union, Library of Congress, Columbia House, American Federation of Musicians, Recording Industry Association of America, Rome Convention, Songwriters Guild of America, Universal Music Group, Berne Union, Creative Commons, Internal Revenue Service, Department of Labor, National Music, New Zealand, Warner Bros, Audio Home Recording Act, Bob Dylan, Copyright Term Extension Act, Warner Music Group New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
The music business is dynamic and ever-changing. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
copyright royalty judges, union reuse fees, mechanical license fees, subsidizing party, local subpublisher, territorial partner, current performance plan, public performance fees, performance monies, statutory heirs, catalogue deal, recording fund, foreign subpublishers, synchronization fees, suggested retail list price, statutory beneficiaries, songwriter agreements, copyright office records, mechanical royalty rate, music publishing rights, compulsory licensee, mechanical royalties, neighboring rights, contracts with minors, artist agreement Key Phrases - Capitalized Phrases (CAPs): (learn more)
United States, New York, Harry Fox Agency, Berne Convention, United Kingdom, Supreme Court, European Union, Library of Congress, Columbia House, American Federation of Musicians, Recording Industry Association of America, Rome Convention, Songwriters Guild of America, Universal Music Group, Berne Union, Creative Commons, Internal Revenue Service, Department of Labor, National Music, New Zealand, Warner Bros, Audio Home Recording Act, Bob Dylan, Copyright Term Extension Act, Warner Music Group New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
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